Flipside Movie Emporium

[Monkeypox]

[Kenji]

That may have been Scorsese's intention, i've thought about it, and i know he liked the contrast between stylish filming and the character's flaws in The Conformist for instance. But i trust my gut reaction and what i think the ending's more likely appeal is (not what it ought to be). Some critics have described the film's violence as "cathartic" as if a positive, and for me the final letter of thanks condones it too, however Travis may have been portrayed beforehand. + Schrader's involvement doesn't exactly undermine my reading of it.

[beltmann]

[beltmann]

[Kenji]

I was wondering about Scarface being politically inconsistent and that may well be a very good point. It's years since i saw it, my recollections are now quite vague and i mainly remember preferring it to Hawks' version, so it somehow crept into my selection.

More on inconsistency, well i think The Searchers is majestic and like Taxi Driver it could be said to be ambiguous about its central character- John Wayne being a racist yet still we are encouraged to support his will to rescue Debbie from the nasty Injuns (Scar played by a white man!), though not to support his idea of "rescue", and scenes like the mis-treatment of the Indian "wife" apparently played for laughs are very uncomfortable. I think it's a majestic film ,and like Taxi Driver a big influence on Wenders (see Paris Texas), but it still seems quite reactionary, especially by today's standards even if it could also be called extremely honest about Western hero figures still being racist. It also happens to be a Scorsese favourite and i'm sure he was trying for ambiguity.

Yeah, The Conformist; i mentioned it just as an example of blending quite lush cinematic flair + visuals with the study of a disturbed + confused individual. You're right, it would be completely unfair to imply only gung-ho Republicans should or could like Taxi Driver. It's been interpreted very differently by all shades of political opinion. No doubt this fact could be presented as a sign of its richness, and no doubt too it's a complex portrait of a loner in troubled times in a disturbed society after Vietnam etc. I was just extending my bit of mischievous fun in the role of Clockwork Orange victim at the hands of oppressive brain-washers, and of course it's just my own strongly felt take on the film.

Schrader: well he loved La Regle du Jeu by the left-wing humanist Renoir, as well as being attracted by right-wing figures like Mishima and by a right-wing strain of religion. A main theme of Scorsese's career is violence v spirituality and i presume he was wanting both elements competing here too, as probably was Schrader. But for me any spiritual aspect being aimed for is out of place in an ending that can so easily be interpreted as pro-vigilanteism (and at once struck me that way). My impression was some sort of redemption had now been achieved, Travis back on the straight and narrow, after the bloodshed.

Excellent quote of your writing on the film by the way. More power to your elbow for seeing the film in that light but many less enlightened souls will be entertained by the violence and not delve into subtler meanings. Reminds me of the British TV comedy Till Death us do Part in the 70's with a ludicrously racist main character. The writer's intentions were satirical but a large chunk of the audience laughed with, not at, the racism.

[matt header]

But should we fault a filmmaker for assuming his audience is intelligent?
_________________
"I don't like talking to people I know, but strangers I have no problem with." -- Larry David, "Curb Your Enthusiasm"

[beltmann]

[Kenji]

I'm not explaining myself at all well. What i mean is that it's clear enough Scorsese isn't condoning Travis' actions or behaviour for most of the film - far from it- but the ending, whatever the intentions, gives me the sense that Travis' violence is the best thing he does (not only for a suffering young girl, but also for his own personality). My reaction may be partly cos i'm over-sensitive on that issue, but i also reckon people with hateful political views will, + do, welcome the ending. A director can aim at intelligent viewers but still be mindful of the actual impact a film is likely to have/ the message it leaves many viewers with- if it's construed differently than intended perhaps that may be due to a flaw?

Anyway, i'm trying to give it the benefit of the doubt, given Scorsese's decency + sensitivity in his study of film history etc, (never mind excellent films like The Age of Innocence and Raging Bull) and cos sensible people here like it so much! But don't get me going on Gangs of New York!

[the night watchman]

[beltmann]

[Monkeypox]

[a35mmlife]

omg.

i cant even go through that list to find your omissions and gems. could you database it for us? geez.

btw.

i <3 the conformist.